Posts Tagged ‘Crossed_Plus_One_Hundred’

From around 2006 to 2014, being an Alan Moore fan meant mostly re-reading old comics. Moore wound down his ABC Comics line circa 2005, and more-or-less retired from writing comics. He did some League of Extraordinary Gentlemen comics, Neonomicon, a one-off God Is Dead, and, in non-comics output Moore wrote 25,000 Years of Erotic Freedom and published and contributed to eight issues of Dodgem Logic magazine. There are probably a few things I missed, but during those semi-retirement years, it seems like new Moore material would appear sporadically around once a year, and much of it was not comics.

From 2014 to 2015, Moore’s comics output picked back up with Crossed+100 (Moore’s six-issue run was 2014-2015, and he contributed the series outline for two subsequent Si Spurrier arcs), Big Nemo (2015), and Providence (2015-ongoing.)

But none of that is what I was planning to write about. 2016 has also been a good year for picking up some reprints of hard-to-find early Alan Moore stories. Many of these have been out of print since they appeared in the 1980s. I was lucky enough to have picked up Moore’s long out-of-print Miracleman/Marvelman series when it was first printed in the U.S., then enjoyed additional materials as it was re-printed in 2013-2014. This year I’ve enjoyed my first reading of 1980s-1990s Moore rarities: The Spirit, The Puma Blues, and Monster. I review each of these briefly below.

Will Eisner’s The Spirit: The New Adventures, second edition, published by Dark Horse Books

Will Eisner’s The Spirit: The New Adventures collects issues 1-8 of the 1990s Kitchen Sink comics revival of the famous Will Eisner hero The Spirit. Eisner is one of comics early greats, alongside Jack Kirby, Steve Ditko, Neal Adams, and others. Eisner did The Spirit for a dozen years, and went on to more-or-less invent the “graphic novel” and contribute to understanding how comics work (work that Scott McCloud subsequently built on.) Eisner allowed for other folks to create Spirit stories in the 1990s, which I missed at the time. Dark Horse apparently collected these in 2009, which I also missed. This year they released a second edition, with some additional newly collected material.

There are four Alan Moore The Spirit stories, all of them very good. Moore is, of course, lovingly referential in following various great Eisner conventions: spelling out The Spirit on splash pages, having The Spirit somewhat tangential to the action, etc. (more…)

Below is an interview with Crossed Plus One Hundred artist Gabriel Andrade. The interview was conducted in mid-2015 by Flavio Pessanha who administers the Alan Moore Brazil (Alan Moore Br) Facebook page. The interview is appearing in English for the first time ever here; the full original Portuguese text appears after the English translation below. The English translation was also done by Pessanha, then I edited it slightly for readability, and added links and images.

Gabriel Andrade Jr. image via Facebook.

Alan Moore Br: Gabriel, could you please tell us about the beginnings of your career as an illustrator, and how you decided to switch from economics to art?

Gabriel Andrade Jr.: The arts – more precisely illustration and music – have always been my passion and that’s where I spent most of my time. But in my adolescence I discovered philosophy and politics, and that also fascinated me. In the end, however, I couldn’t deny my artistic streak. (laughs) I chose to read Music at university, as I didn’t see myself as a graphic designer or didn’t see that there was a market for that.

When opportunities to show my portfolio drawings started to arise, I didn’t think twice and invested all I could in this process. As I didn’t know anything regarding this field, I had help from my friends Milena Azevedo (GHQ blog), Miguel Rude and Wendell Cavalcanti (both artists and comic writers). They were already in the business and they were my gurus when it all started for me.

You have worked for Dark Horse, Atlantic and you are now with Avatar. How did you get started working for Avatar?

Lady Death artwork by Gabriel Andrade

Towards the end of 2009 I had finished Die Hard at Boom!Studios and they [Avatar] needed an artist for Lady Death, so I created a fancy illustration for the poster and the final artwork. After that, I signed my first contract with them. (laughs)

How did Alan Moore find you? Were you surprised?

We both did work for Avatar’s special God is Dead [Book of Acts Alpha], but in separate short stories. William [Christensen], the editor-in-chief, showed my work to Alan and then we agreed that we were going to develop the new series.

In a recent interview with Pádraig O’Mealóid Alan Moore said that your art is spectacular and he called you ‘real old-school brilliant’, which is a humongous compliment. What are your main influences and how did you learn to draw?

My first influence didn’t come from comics, but from real life. As a child I drew everything I saw and, as my parents were teachers, at home we had a huge variety of illustrated science books, and many magazines and educational posters. (more…)

Here are a couple moreCrossed Plus One Hundred images from artist Gabriel Andrade’s Facebook page. Above is a comparative image showing his process from pencils to inks to final colored comic page (click on any image to enlarge.) As much as I am really enjoying Andrade’s excellent work, that comparison image makes me more appreciative of Digikore Studios coloring job – especially the sky. And below is another Andrade piece, (more…)

Readers solved many of the comics annotation reference mysteries I put out in this February 2015 post. A couple more issues of Alan Moore and Gabriel Andrade’s Crossed Plus One Hundred have hit the stands; I have posted annotations for No.3 here and No.4 here. But there are things I haven’t figured out, so I am going to toss out some more questions to readers.

In Crossed Plus One Hundred No. 3, there’s a movie marquee in the human settlement in the year 2108 Chattanooga that has some letters left over from when it last showed films in the year 2008. It’s clear that one of the films was “Mama Mia!” which was released July 18th, 2008. On the right side of the marquee it says “_WR__R_” and “_LO_REI_” which should also be partial names of 2008 films. The “LO_REI” one could more-or-less be “Cloverfield” released January 2008, and suitably apocalyptic to match the CPOH world. I haven’t found anything else these might stand for. They’re probably the names of 2008 films, though they could say something like “coming soon,” “double feature,” “air conditioned”, or “eat popcorn”. Any ideas?

Images of 2008’s The Surprise from the first pages of CPOH No.4 – art by Gabriel Andrade

2. Are these The Surprise scenes from earlier Crossed comics?

Crossed Plus One Hundred No.4 opens up with three pages showing what was happening a hundred years ago during “The Surprise” – the initial 2008 Crossed epidemic outbreak. The first panel shows Andrade’s version of an airplane crash that took place in the very first Garth Ennis / Jacen Burrows issue of Crossed. The subsequent panels show fairly specific scenes (in snow, in Japan) that I suspect are from other Crossed comics that I haven’t read yet. Any Crossed readers out there recognize these images?

I was happy to spot a couple of photos on Gabriel Andrade’s Facebook page that are pretty clearly nearly-completed artwork for an upcoming issue of Crossed Plus One Hundred. Enough to tide us CPOH fans over until the next issue appears, No. 5, probably in May or June 2015. (more…)

I just finished reading Hugo Gernsback’s early science fiction novel Ralph 124C 41+: A Romance of the Year 2660.

As of a couple months ago I hadn’t heard of this book, though it was initially serialized beginning in 1911.

I found out about it by reading the comic book Crossed Plus One Hundred (CPOH) by Alan Moore and Gabriel Andrade. The first issue of Crossed Plus One Hundred is titled “124C41+”. On the first read through, I didn’t even notice the title, located at the bottom of a splash page with a narrator introducing a steam-punk skeleton-piled future world. Ralph 124C 41+ is mentioned a few times in the issue. I later began annotating CPOH, and in the process Googled “124C41+” and that lead me to understanding what the reference was, and, later, heading to the L.A. Public Library to check it out and read it.

The author Hugo Gernsback (1884-1967) is the eponymous Hugo behind science fiction’s Hugo awards. According to Wikipedia, he was an inventor, a radio and electronics enthusiast. He went on to publish the first science fiction magazine. Reading Ralph 124C 41+, it’s clear that Gernsback is more taken with science than he is with fiction. Gernsback more thoroughly imagines and describes technological advances than he does plot or character. It’s not bad, definitely worth reading, but it’s not great literature.

In fact it seems to me that this is one of the works that gives the science fiction genre its name. It could have been called future fiction, speculative fiction, super fiction, etc. In CPOH, Moore calls it Wishful Fiction. Not all science fictions is about science, the way Ralph is. Sci-fi authors I’ve read, including Octavia Butler, Ursula K. LeGuin, Ray Bradbury, and Robert Heinlein, seem more interested in what sci-fi says about humanity than what it says about science.

There were earlier pieces written in what would become the sci-fi genre (Frankenstein, Twenty Thousand Leagues Under the Sea) but it is Gernsback’s science-infatuation that ends up giving us the name of the genre. Gernsback, as an editor/publisher, came up with the name “scientifiction” which later became science fiction.

The title character Ralph is “one of the greatest living scientists” hence of ten great men (yah, no girls allowed in 1911’s 2660) allowed to put a “+” after their names. Ralph “the scientist, man of action” is the star, who can seemingly invent anything at the drop of a hat, and “[b]eing a true scientist, Ralph wanted to make his own dangerous experiments.” (more…)

Below are two examples of the latest references I’ve been tracking down for Crossed Plus One Hundred (CPOH), a new comics series written by Alan Moore and drawn by Gabriel Andrade. Crossed are basically depraved zombies. Not my favorite genre, but in Moore and Andrade’s hands, it works. CPOH is a look at what a post-apocalyptic future might look like after a hundred years from now. See this earlier post for three more CPOH references.

There are a series of CPOH variant cover images called “future tense.” Each image is a homage to a science fiction book. Below is Gabriel Andrade’s future tense cover for CPOH4, and the book cover it references A Canticle For Leibowitz.

Even after scouring the internet, reading, and re-reading each issue, there are still quite a few references I can’t figure out. At the time of this writing, there are only two (of six) issues released (plus future covers at Avatar Press.) These references may be made clearer as other issues come out… and there will probably be a whole raft of new references I am looking to track down as new issues hit the shelves.

Readers – take a look a the list below and see if you can help me figure these out. (more…)

The set-up for a page-turn reveal: Cautious Optimism Kriswyczki sees “something” that readers don’t see until we turn the page. The full reveal is shown below. Click on any image to enlarge. Crossed Plus One Hundred No.2 Page 3, panel 5 detail. Written by Alan Moore, drawn by Gabriel Andrade

(Spoiler Note: very minor Crossed Plus One Hundred spoiler after the jump)

How a page-turn reveal works: At the bottom right of the first page, there’s some hint of what’s coming. Generally some character sees something that the reader doesn’t see yet. Then the reader turns the page and sees what the character has already seen. For a full-on page turn reveal, the first page is an odd page, so the bottom right panel precedes a page-turn. Often the second (even) page is a larger panel, or even a full page panel or a 2-page spread.

Note that these reveals are a three-dimensional experience a little bit difficult to convey clearly via the two-dimensional computer screen blog. I guess I could film turning the actual page to really tell this story better… but I’ll do the best I can here.

These page-turn reveals seem unique to comics. In other page-turning media, say novels (non-graphic – just text), the pagination is such that the author doesn’t really know where the page turn will occur. The exception to this is chapter-to-chapter transitions, which are sometimes page-turn reveals.

In some ways, maybe page-turn reveals are slightly analogous to a cliffhanger to-be-continued ending in any episodic media: comic books, comic strips, serialized literature, TV, radio, probably others. But it’s a somewhat low-stakes version of a cliffhanger-episode-ending, because the reveal comes just a page later; the comics reader doesn’t have to wait for the next episode. They’re slightly reminiscent of the way a TV show might do something suspenseful just before an advertising break, in order to keep the audience tuned in, then reveals something after the break.

Though these page-turn reveals have probably been around a while, I suspect that they’ve been fairly sparse. One big reason for this is commercial. The comics of my 1970s youth had plenty of advertisement pages. In many cases, comics artists and writers probably couldn’t count on a given page-turn to not be rearranged by re-pagination in a case where a publisher decided to make some change to the way the ads were inserted.

I suspect that the interspersed ads also inhibited 2-page layouts that span the central page fold. Though those are also somewhat limited by printing technology that couldn’t assure that the left and right images would line up precisely. The exception to this would be the fold in the very middle of the issue.

The exceptions to these historic pagination uncertainties are the first three pages. Page one of an issue is traditionally a full-page single-panel splash page. Pages 2 and 3 typically did not include ads. So, occasionally, earlier comics creators used page 1-3 for a page-turn reveal.

The artist who comes to mind who exploits the page-turn from page one to two is Jack Kirby. (more…)

As I wrote about in this earlier post, I’ve been going through Alan Moore‘s new comic Crossed Plus One Hundred and annotating it. For folks interested in the details of CPOH, see my annotations and glossary pages. I thought I’d post three of the more visual gems I found. Click on any of the images to see larger versions. (more…)

I am a huge Alan Moore fan. In case readers are unfamiliar with him, Moore is a comic book author who has been basically re-inventing what comics can be.

I wrote about my Moore fandom here in 2011. Basically I think he has one foot in the superhero comics I grew up reading and one foot in a much more sophisticated comic book literature that interests me today. Moore more-or-less got fed up with the comic book industry and pretty much retired from comics around 2006. This left hardcore fans like me to re-read his old stuff… which is rewarding, because, like a lot of great artwork, it holds up well to repeated readings. I often notice subtler details and references that I missed in earlier readings.

This month, Alan Moore’s work returned to the new comic book shelves with the first issue of Crossed Plus One Hundred. Judging just the first of six planned issues, I will say that it looks like CPOH is not Moore’s greatest work. It’s basically a zombie story that takes place in a post-apocalyptic Mad Max future.

So far, what’s most fun about CPOH is Alan Moore’s playful take on what language will sound like in 2108. Moore has played with future speak before. Here’s some dialogue from Moore’s sci-fi The Ballad of Halo Jones which began publication in 1984:

You’ll both wind up crumped in a side-artery! (Page 3, panel 3 from the first Halo Jones episode)

And, from a Spawn/WildC.A.T.S. team-up published in 1996, here’s dialogue from a future version of a character named Zealot who has traveled back to the present day:

Wow! I can’t boot this. We’re really in the Halo Building and it’s all in one piece. It’s wholly ineffable! (Page 21 panel 1 from the collection Wild Worlds)

Back to Crossed Plus One Hundred, Moore posits that human language in 2108 will be about as different from contemporary English as contemporary English is from Shakespeare’s English. Yes, you can still make out what people are saying, but it’s sometimes confusing and disorienting. Somereviewers, including my wife Carrie, found some of the future-speak difficult to understand. Somereviewerspraised it. Some of it is kind of impenetrable on first read. Here’s one opaque example: (Sorry even more confusing out of context)

I am just going to leave that one for a bit (maybe use my glossary if you want to decipher.)

Here’s another CPOH example — an exchange between two characters named Cautious and Future: (Yes – the younger characters have non-traditional names, reminiscent of the way early American protestants would name their kids Silence and Prudence.)

Cautious: No. The logic’s oh-eight. We lossed all our information. What kind of mother does that?